Acceso usuarios
Perú
Málaga, España
Los festivales de cine son espacios de encuentro donde confluyen agentes de la industria audiovisual, estudiantes, cinéfilos, periodistas y los mismos organizadores de estos eventos. Esta investigación tiene como objetivo describir las experiencias en la cobertura periodística de festivales cinematográficos para medios: generalistas, especializados y nativos digitales de Iberoamérica. Para ello se aplicó un enfoque cualitativo a través de entrevistas semiestructuradas a periodistas cinematográficos y gestores de festivales. Los resultados revelan que cada periodista aplica sus framebuilding para realizar la cobertura del evento, lo que se supedita a la agenda informativa del medio que los comisiona. También han aparecido nuevos agentes que comunican sobre los festivales como son los influencers, además los festivales han creado sus propias plataformas para cubrir los vacíos informativos que la prensa especializada no informa sobre el festival, por ello se concluye que los festivales son epicentros mediáticos donde actualmente confluyen distintos tipos de generadores de contenidos que diversifican la oferta informativa gracias a las facilidades tecnológicas que ofrece la digitalización, el internet y las redes sociales
Film festivals are places of encounter where different social actors come together, including professionals from the audio-visual industry, students, film buffs, and journalists, as well as the figures who organise these events. The aim of this research is to describe the journalistic coverage of film festivals carried out by the Ibero-American media, which is composed of generalist, traditional, specialised, and digital native outlets. The authors have used a qualitative methodology based on semi-structured interviews with film journalists and festival managers. The most significant findings reveal that each journalist develops their own particular type of frame building to cover an event, which is subject to the informative agenda of the media through which they are commissioned. At the same time, new actors such as influencers have also appeared, who report on the festivals as well. In addition, the festivals themselves have created their own platforms in order to fill the information gap resulting from the failure of the specialised press to report on certain aspects of these events. As a result, the authors conclude that festivals have become media hubs where different types of content generators converge, and in which they offer a diversity of information thanks to the technological facilities offered by digitisation, the Internet, and social media
